테크놀로지 변화와 Henri Ciriani의 미학 표현 변화와의 관계

신문기,Shin, Moon-Ki 한국건축역사학회 1999 건축역사연구 Vol.8 No.4

This study was to examine the relationship with the changes of computer technologies that was influenced in human sensorial perception and the changes of aesthetical expression in architecture that was expressed in Henri Ciriani's work after 1970's. As a result, the human sensorial perception that was caused by the changes of technologies has influenced on Henri Ciriani's space concepts and expressions of materials and forms. According to it, the aesthetics in a period was determined by the use of developped technologies. In my opnion, this could be a plastic art expressions.

천안•아산지역 향교의 배치 특성에 관한 연구

신문기(Moon- ki SHIN) 호서대학교 공업기술연구소 2009 공업기술연구 논문집 Vol.28 No.1

The purpose o i this study is to find out the characteristics o f the spatial arrangements o f six Hyanggyos around Cheonan and Asan city. The six hyanggyos show some particular spatial arrangements. A ll o f them are placed on the hills with their ritual areas located up hill and their studying areas situated down hill; these are different from Seongkyunkwan and other major hyanggyos in Kyeongju and Naju etc. A ll their Daeseongjeons are facing south ; three Myongryundangs from the hyanggyos are also facing south like the Daeseongjeons. However, Myongryundangs o f the others are facing north because o f the shortage o f land. From the above facts, it is clear that the ritual ceremonies were more important than the studies in the hyanggyos during the Lee Dynasty. A ll the buildings in five hyanggyos keep a hierarchical arrangement: their Daeseongjeons and Myongryundangs are on the north-south major axe and their Moos and their Jaes are on the east-west minor axe. However, one hyanggyo does not keep a hierarchical two axes, it keeps only their position: Daeseongjeon arrange upper place and myongryundang axe.

미니멀건축 표현의 특성에 관한 연구

신문기(Shin, Moon-Ki) 한국산학기술학회 2013 한국산학기술학회논문지 Vol.14 No.1

미니멀 건축의 단순성으로 인하여 최초 시도자를 흔히 20세기 초기 건축가 미스 반 데 로에(Mies van der Rohe)로 잡고 있다. 그렇다면 미니멀 건축이 20세기 초의 근대미학으로 되돌아가는 회귀성 건축인지 그리고 어떻게 이러한 건축이 20세기 후반의 대표적 건축양식 중 하나로 자리 잡고 있는지 알아보고자 하였다. 그 결과, 미니멀 건 축은 기능성, 합리성, 위생성 등을 추구하며 장식을 배제하고 단순한 형태의 기계미학을 표현한 근대건축과는 달리 인간의 감성과 체험된 지각에 중점에 두고 간결하고 단순한 형태를 주변공간과 일체화시켜 새로운 질서를 구축하여 감동을 주려고 노력하였음을 알 수 있었다. 이러한 미니멀 건축의 표현 방법은 다감각적 지각 체계와 추상적이며 순 수한 개념적 지각 체계 중 개념적 지각체계를 보다 강조하며 대비하여 나타내고 있는 현대건축표현 경향과 일맥상통 하고 있다는 것을 알 수 있었다. 그러므로 단순성의 표현만으로는 미니멀 건축을 위한 필요조건은 되지만 충분조건은 되지 않는 것을 알 수 있었다. Minimal architecture is generally expressed in a simple and pure form, this characteristic of minimal architecture was first introduced by the architect, Mies Van der Roche, in the beginning of 20th century. The objective of this study is to identify wether minimal architecture is just a reappearance of the beginning of 20th century's modern architecture or a suitable form for contemporary aesthetics. As a result, it can be concluded that minimal architecture is based on human emotion and one's experienced perception which is very different from the modern architecture which is more focused on functionality and mechanical esthetics. Minimal architecture uses two systems which are multi-sensual perception and conceptual perception; however, it focuses more on conceptual perception which is also used in comtemporary architecture. In conclusion, simplicity is just one of the necessary conditions which is not sufficient enough to represent minimal architecture.

더 스테일 (De Stijl) 그룹이 사용한 색채의 역할과 근원

신문기(Moon-Ki Shin) 호서대학교 공업기술연구소 2006 공업기술연구 논문집 Vol.25 No.1

There are lots of studies about the group De Stijl, and most of them neglect that colour has an instinct relation with form and space and it is a plastic means equal to form. Instead, they put stress only on the effect which the, visually expressed colour brings. In this situation, this study needs to clarify which role colour plays in De Stijl group and the reason why it has a certain role. First, this study will show the object and the means two essential members of the group - Theo Van Doesburg and Piet Mondrian - and the other members had for their plastic expressions, especially for their coloristic expression. Second, it will hold of the process in which they chose theirr epresentative colours, and the meanings these colours has. At the same time, it will mention about common and different points the two important members had concerning the De Stijl s theory about colour. Third, it will explain synthetically the relation theory and practice about the colour of De Stijl, examining how the theory of De Stijl is applied to architectural practices.

[서평]길과 집과 사람사이

신문기(Shin Moon-ki) 대한건축학회 2005 建築 Vol.49 No.6

건축디자인교육의 과거와 현재

신문기(Shin Moon-ki) 대한건축학회 2010 建築 Vol.54 No.9

르 코르뷔지에의 색채사용에 있어서 뻬삭 프로젝트의 의미

신문기(Moon-Ki Shin) 한국산학기술학회 2018 한국산학기술학회논문지 Vol.19 No.11

퓨리즘 시기의 르 코르뷔지에는 백색을 주로 사용하는 건축가로 알려져 있다. 그러나 이 시기에 실제 그는 다채색을 많이 사용하였고, 이렇게 다채색을 많이 사용한 것에 비해서는 그의 다채색 사용의 원리들이 그다지 잘 정리되어 있지 않다. 이 원리들을 밝히기 위하여, 우리는 건축물의 외부에 다채색을 드러내어 많이 사용한 뻬삭 프로젝트의 분석을 통해 그가 어떤 방법으로 다채색을 사용하였는지 그리고 그 의도와 원칙이 무엇인지 알고자 하였다. 또한 이 분석과정에서 뻬삭 프로젝트가 그의 건축언어를 정립하기 위한 실험실이었을 뿐만 아니라 동시에 다채색 사용의 방법을 구축하기 위한 실험실이었는지도 알아보고자 하였다. 그 결과로 우리는 그가 백색을 바탕으로 다채색을 이용하여 공간을 변화시키고 또한 물체를 분류한 것을 확인할 수 있었다. 그리고 그는 우리의 감성과 연계되고 경험이나 습관에서 기인하는 심리생리학적인 경험을 바탕으로 색상을 선정하여 현장이 가지고 있는 건축공간과 형태 상의 여러 문제점을 보완하기 위하여 고안해낸 색체를 활용한 위장술, 착시, 선물 상자 기법, 볼륨의 해체방법, 등 다양한 방법들을 활용하였고 이러한 방법들은 뻬삭 이후의 프로젝트들에도 응용된 것을 확인할 수 있었으며, 다채색은 결국 그의 건축언어를 보다 강조하기 위한 수단으로 사용한 것을 알 수 있었다. Le Corbusier is an architect known for his use of mostly white color during the Purism period. On the other hand, he actually utilized polychromy in his works while the principles behind his use of polychromy is not well defined. Through the analysis of the Pessac project, where he deliberately utilized polychromy in the exterior of housing, this study examined not only the principles behind his utilization of colors, but also the fact that this project was a laboratory to set up his architectural language and develop the method of how to employ polychromy. An analysis of this project found that he changed spaces and categorized objects using polychromy based on the white color. He also chose and used colors based on the psychophysiological experience that is related to emotions and habits. To compensate for the problems arising from the architectural space and form in the site, he used various techniques, such as camouflage, optical illusion, "gift box" technique, and dismantlement method of volume. Therefore, polychromy is used as a method to emphasize his architectural language.

건축설계 영역에서 창의성과 관련된 요인들의 관계

성은현(Sung Eun-Hyun),신문기(Shin Moon-Ki) 대한건축학회 2008 대한건축학회논문집 Vol.24 No.8

This research is aiming for studying the relationships between the knowledge of major field, general knowledge, intrinsic-extrinsic motivations and the creativity of architectural design. 129 students, major in architecture, participated in this study. Two specialists of architectural design evaluated the students' creativity in their projects. The data of the intrinsic-extrinsic motivation test and the academic achievement for students were used for the analysis. We used Cronbach α test, factor analysis, stepwise multiple linear regression, Pearsons's correlation test, and Barron and Kenny's mediate model to analyse data. The results were as the following; First, the knowledge of major field, general knowledge, and intrinsic motivation were significantly correlated to the creativity of architectural design. The sub-factors of extrinsic motivation were not significantly correlated with the creativity of architectural design except the extrinsic motivation that has a synergy effect with intrinsic motivation. Second, the multiple regression analysis demonstrated that the knowledge of major field and intrinsic motivation were significant predictors in the factors of the creative architectural design. Finally, the effect of the extrinsic motivation that has a synergy effect with intrinsic motivation on creativity was mediated by intrinsic motivation. These results suggest that we should make efforts to elevate the knowledge of major field and students' intrinsic motivation through recognition and rewards to develop creativity in the architectural design.

서울지역 주거 유형별 거주자의 성격특성

성은현(Eun Hyun Sung),신문기(Moon Ki Shin) 대한가정학회 2001 Family and Environment Research Vol.39 No.5

사랑채 누마루와 사랑마당 및 외부차경공간의 시각적 관계

김영현(Kim, Young-Hyun),신문기(Shin, Moon-Ki) 한국산학기술학회 2012 한국산학기술학회논문지 Vol.13 No.12

본 연구는 15∼16세기에 형성된 영남지방 상류주택을 대상으로 입지별 상류주택의 사랑채 내부 공간, 누마 루의 기능, 규모, 유형 등을 통해 사랑채 누마루의 입지별 특성을 비교하고 또한 입지별 사랑채 누마루와 사랑마당 및 외부차경과의 시각적 관계를 분석하여 조선 초기 사랑채 누마루의 입지별 내·외부 공간 특색의 차이점을 파악하 였다. 그 결과 구릉지형의 경우 좌향과 상관없이 사랑마당과 접하는 누마루의 면이 단변을 이루고, 평지형의 경우 구릉지형과 달리 사랑마당과 접하는 누마루 면이 장변을 이루었다. 둘째, 구릉지형은 사랑마당이 주조망의 대상이 아 니며 주변 산세를 조망하는 보조적인 역할을 하며, 평지형은 사랑마당이 조망의 대상이면서 구릉지형과 달리 사랑마 당 안에 내부정원을 형성하고 개방된 입면을 형성한다. 셋째, 구릉지형은 조산을 외부차경으로 활용하며 평지형은 사 랑마당을 조망대상으로 활용하고 사랑마당의 기능이 다양화되면서 내부정원을 형성하는 차이가 나타난 것을 알 수 있었다. This study is conducted to understand the different characteristic of the inner and outer spacing of Sarangche Numaru according to their geographical location conditions during its construction in 15-16thcentury. The results showed; first, for hill-type, the side of the Numaru that is in contact with the Sarang Madang makes a short side of Sarangche Numaru regardless of the Orientation and for flatland-type, the side of the Numaru in contact with the Sarang Madang makes a long side of Sarangche Numaru. Secondly, for hill-type, Sarang Madang is not focused as the main view, instead it supports the view of the mountains that are around however, for flatland-type, Sarang Madang is focused as the main view therefore, an inner garden is formed inside Sarang Madang. Lastly, for hill-type, Cho Shan is used as an appropriative landscape while for flatland-type, Sarang Madang is used as the main view and an inner garden is formed because of the diversification of Sarang Madang’s function.